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Full text of "Movable stationery"

'ABLE 



STATIONERY 



Volume 1 3 
Number 1 
February 
2005 



JSyRIMAO 



Frankfurt Book Fair 2004: Part 2 

Theo Gielen 
The Netherlands 

Pop-up books that just unfold and stand.... 

After his Great American Houses and Gardens the 
new Chuck Fischer book highlights the in and outs of 
America's most important house in The Wliite House Pop- 
up Book (Universe, 0-7893-1064-3). Featuring a movable 
diorama of the Washington Mall with all of the 
monuments, an exact paper pop-up replica of the White 
House, the Oval Office in three-dimensions, a carousel 
that reveals five other of its famous rooms, and more. A 
must-have indeed. 

Nick 
D e n c h field 
designed and 
engineered 
Extreme A nimals: 
A Pop-up Book 
Bursting with 
Danger! (1-405- 
2 17 0-5) 
published by 
Macmillan and 
illustrated, as 
most of his works 
are, by Anne 
Sharp. A feast of 
extraordinary 
paper creatures 
includes a white shark, an eagle, polar bear, cobra and a 
tiger. It is impossible for me to say which of them is the 
most impressive pop-up since they all are gorgeous. 

Templar Books brings further parts of Derek Matthews 
Happy Snappy Pop-up Books that now number 18 
volumes, and exploit the formula with a further pop-up 
series of four Snappy Noisy Pop-Ups (sound books), all 
published in the United States by Silver Dolphin Books, 
San Diego. At Templar's was also seen a nice Every Page 
a Stage: Nursery Tales (1-84011-857-1) designed by 
Dugald Steer and illustrated by Steve Lavis, in which 
every page features a different nursery story that can be 
acted out by children and parents on its own pop-up stage 
on the opposite page, using the accompanying moving 
characters and props. 

Continued on page 2 




Extreme Animals 



How Peter Apian Can Change Your Life 

Margaret Towner 
London, England 

Visualize a sunny morning in London's Portobello Road 
antique market, and a collector of pop-up books, mainly 
modern, is trawling along the outside stalls, a mixture of 
mostly tat and occasional treasure, looking for toys and other 
trifles. A young man has a display, spread on a car and 
trestle, of pictures and unappealing books, but out of 
curiosity she picks up one bound in thin vellum, with no 
visible title, expecting an old prayer book. It opens on a 
volvelle, a woodcut of discs and pointers, and turning to the 
front, the title appears Cosmographia and the date, 1545. 

To cut the story short, 
I bought the book, 
surprisingly affordable 
because of a page 
missing and the lack of a 
highly desirable map, but 
having the volvelles in 
good condition. They are 
secured on the pages by 
thread, and one of the 
knots at the back in my 
copy is neatly covered by 
a tiny printed lion's head 
sticker. Being aware in 
general terms of the 
book's status as one of 
the earliest movables, I 
naturally tried to find out 
the background. The title 
is Libro de la 
Cosmographia de Padro 
Apiano ...Augmentado 
por el Doctissimo Varon 
Gemma Frisio. .Agora 
Nueuamete Traduziodos 

en Romace Castellano, and it is the 1 5' h century edition, the 
first in Spanish. This fortunately makes it easier for me to 
read than a Latin version, but also demonstrates two 
features, first, that the book became one of the run-away best 
sellers of the early publishing industry, and second, that it 
was expected to appeal to citizens of this great exploring and 
colonizing nation of the 1 6 lh century. Why was this, and who 
were the two authors? 

Continued on page 11 




Peter Apian 



The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of the 
Movable Book Society. Letters and articles from members 
on relevant subjects are welcome. The annual membership 
fee for the society is $20.00. For more information 
contact: Ann Montanaro, Movable Book Society, P.O. 
Box 11654, New Brunswick, New Jersey 08906 USA. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 

e-mail: montanar@rci. rutgers. edu 

Fax: 732-445-5888 

The deadline for the next issue is May 15. 



Continued from page 1. 

More theatrical 
pop-up books were 
seen at Little 
Simon offering a 
paper toy theater of 
Jan Falconer's 
character Olivia in 
Teatro Olivia (0- 
689-87816-8). The 
front cover of this 
book opens to 
create a stage with 
changeable scenery 
and props. 
Included are ten 

Olivia figures and the synopses of well-known plays like 
Tchaikovsky's Swan Lake, Shakespeare's Romeo and 
Julia, and Puccini's Turandot. And at Walker 
Books! Candlewick was The Nutcracker Ballet Box (0- 
7445-9228-3) by Jean Mahoney that presents a miniature 
fold-down theater with stand-up toy dancers, backdrops 
and a music CD. A very nice item. 




Every Page a Stage: Nursery 
Tales 



illustrations by Helen Oxenbury; a new edition with fold- 
outs, lift-flaps and a pop-up realization of The House that 
Jack built; and a new Robert Crowther title, Trains. 

Tango Books had a third hilarious title by John O'Leary: 
Professor Mole 's Machines. The Amazing Pop-up Book of 
How Things Really Work! (1-85707-632-X) in which a mad 
professor makes things move in unusual ways. They also 
announced a further pop-up volume with the character Ruby, 
Ruby the Sporting Star, having a merry sound chip that 
produces applause. 

Feasts of color are the simpler pop-up books that bring 
Robert Frederick Ltd. (an imprint of Grandreams, Bath) 
under the trademark of Top Story Large Pop-Up Books: 
Bugs (0-7554-2363-1), Fairy Party (0-7554-4050-1), and 
Mermaid's Adventures (0-7554-4049-8). Next year will 
follow two Pop-up Party Mask Books, each with six 
removable animal masks to actually wear; Jungle Animals 
(0-7554-4644-5); and Old MacDonald had a Farm (0-7554- 
4643-7). 

Three-dimensional paper artworks rather than books are 
two small (145x145 mm.) bold, shaped board objects 
designed, illustrated, and engineered by Jo Lodge from 
Templar (also coming from Little Simon): Wliat's on the 
Beach (1-8401 1-3278) and Wliat 's in the Garden (1-8401 1- 
332-4). Both have a 3-D front cover rounding in shape of 
half bucket, respectively, or watering can with acetate 
windows to show a three-dimensional scene and a pop-up on 
the final spread. Jo Lodge also did the paper engineering for 
Lara Jones' Poppy Cat's Christmas (0-333-98475-7), a 
multi-novelty book with pop-ups, twinkling lights and 
music, published by Campbell Books. 

The highly prolific Keith Finch also paper engineered the 
pop-up edition of the classic music story Peter and the Wolf 
(1-85602-462-8) rewritten by Pie Corbett and very 
expressively illustrated by Nik Pollard - to come from 
Chrysallis Children's Books (the former David Bennett 
Books). 




Shakespeare's Globe 



Walker Books also had 
on display - to come in 
2005 - marvelous dummies 
of a new pop-up book that 
folds out into a stunning 
replica of Shakespeare's 
Globe, colorfully 
illustrated in detail by Juan 
Wijngaard. They also have 
a pop-up edition of the 
great, ever-selling picture 
book by Michael Rosen, 
We're All Coming on a 
Bear Hunt with 



By the way, at their stand I saw the Kama Sutra Pop-up 
Book of last year, but now with a new, very much more adult 
front cover designed, as I was told, for use outside the US 
only! 

Next autumn will bring from Little Simon a new "book" 
by John Rives, the paper engineer who so pleasantly 
surprised me a couple of years ago with his Polar Bear. His 
new project is an Advent Calendar Pop Up Box, a fully 
paper engineered cube that folds out to reveal 24 secret 
compartments, pull-out books, and a pop-up nativity scene 
finale inside the cube's core. 



And finally another paper engineer who surprised me 
last year with a nice nostalgic and Kubasta-like Pop up 
Nativity Advent Calendar (see www.PastTimes.com), is 
Susanna Geoghegan who showed me the dummy of her 
new The Amazing Pop-up Stonehenge ( 1 -85074-926-4). 
It will be published next spring by The English Heritage 
with a very informative text by the British TV historian 
and Stonehenge expert Julian Richards. 

To conclude this section I mention here the only 
Asian pop-up book I have found but, unfortunately, not 
seen: Behold the Pop-up: 3,000 Years in the Life of a 
Dragon (800-554-037-5) by Benedict Norbert Wong. It 
is a pop-up book announced in Publisher 's Weekly (so 
apparently available in the USA) and said to "bring 
Chinese history to life." 

... and other novelty books 
of interest 

Egmont Books publishes 
Thomas' Island Tour (1- 
4052-1333-7) being a cover 
with a 60cm. diameter fold- 
out track and a wind-up 
train, complete with a 
points-changing mechanism 
to send Thomas racing down 
different routes and to 
recreate Thomas' journey as 
known from his popular TV 
Thomas ' Island Tour series. 

A unique and puzzling 
technique with black and white pictures that by the use 
of acetate mechanisms show their colors by the pull of 
a tab, was found in Louisa Sladen, Mini Magic Color 
Books by Pinwheel Children's Books. In the spring the 
first four titles appeared and now there are another two: 
Farm Animals ( 1 -9022-4994- 1 ) and Jungle Animals ( 1 - 
9022-4995-X). A nice variation is used by Shaheen 
Bilgrami in her two "Through the Window Books" by 
the same publisher. Night Shadows shows through the 
window all sorts of weird and wonderful silhouettes that 
change into what they really are when you "turn the light 
on" by the pull of the tab. Likewise is revealed what the 
Noisy Neighbours are doing when you "draw the 
curtains" by pulling the tab. 

The play with light and shadow can also be practiced 
with The Polar Express: The Movie Shadow Book 
(Houghton Mifflin, 0-618-47793-4) a tie-in with the 
Chris van Allsburg movie. This interactive, shadow 
casting, bedtime story includes a flashlight to use to 
project scenes onto the wall; reviving the technique of 
the coptographic pictures of the 19th century that still 
work! Books with built-in lights come from Intervisual 




Books, Ten Christmas Lights illustrated by Jo Parry, and 
Eight Chanukah Lights, illustrated by Ilissa Iwai. 
Egmont Books has Thomas ' Midnight Adventure (1-450- 
21460-3) with flashing lights to light up the night sky 
along the way. 

SpongeBob Squarepants grows three-dimensional in 
Road Trip (Simon Spotlight, 0-689-87382-4) when the 
reader wears the enclosed punch-out 3D glasses. The 
same effect has a 3D poster that accompanies Santa vs. 
the Snowman published by Price Stern Sloan, Los 
Angeles, an being a tie-in of the 3D animated film 
created by Steve Oedekerk. 

The trick of the growing number of colored ribbons 
resulting in a rainbow in Intervisual's What Makes a 
Rainbow? has been copied in Lara Jones' Poppy Cat 
Loves Rainbows (0-333-71277-3) that will come in 
spring 2005 from Campbell Books. A nice variation of 
the principle was seen at Intervisual Books in their Blue 
Bird 's Nest that has a growing number of frayed strings 
from which two birds build their nest and finally is 
followed by a pop-up scene of the nest with new born 
birds. 

An innovative 
technique of movement, 
known to me only from 
one untitled book from the 
1930's and also from 
postcards of that time, can 
be found in Elizabeth 
Koda-Callan, The 
Squiggly Wigglys 
(Workman, 0-761 1-2821- 
2). Every full-page 
illustration has a thin 
jiggly chain - bound into 

the page and sealed in plastic - that allows the reader to 
change the character's outline or expression. Great fun 
to transform Mrs. Wiggly from a slender flapper to a 
bustled dowager! 

Not really a movable or pop-up book, however a 
desirable camp item that turns into a three-dimensional 
scene will be Gnome & Garden: a Gnovelty Kit by 
Marcus Mennes, seen at the packager Becker & Mayer 
and to come next year. Their blurb reads: "This desktop 
'gnovelty' kit comes packaged with a miniature garden 
gnome, an artificial turf lawn, miniature flowers, and 
four backdrops to create an office scene of a garden 
gnome. The accompanying illustrated booklet provides a 
brief but fascinating historical and cultural history of the 
garden gnome, from the gardens of Britain to trips 

Continued on page 1 2 




The Squiggly Wigglys 



Rubber Stamp: The Miniature Matrix 

Rand Huebsch 

New York, New York 

When I first learned to carve rubber stamps out of 
soft-polymer blocks, I enjoyed the process so much that 
it was my sole printing technique for a year. As 
miniature relief blocks that are inexpensive to make and 
easy to print, stamps are ideal for introducing to students 
such printmaking concepts as the multiple, image 




transfer, inking variations, stencil cutting, and color 
registration. 

The following materials are needed: carving blocks, 
linoleum-cutter set (one handle and various 
interchangeable blades), soft-lead pencils or felt-tip pens, 
stamp pads, and smooth paper. There are a number of 
blocks that can be used, and, for that matter, so can 
erasers, such as Artgum, which have the advantage of 
being easily obtainable at stationers. However, the best 
carving block is Mastercarve, produced by the Staedtler 
Mars company from the same soft polymer used for its 
erasers. The block cuts like butter; unlike some others, 
it is neither rubbery, impeding the cutter, nor does it 
crumble along the edges of the carved line. The 4" x 4" 
size is often the most economical and can be cut into 
smaller pieces with scissors or an X-acto knife against a 
ruler held firmly on the block. All of its surfaces can be 
carved. Mastercarve is not available at all art-supply 
stores, but there are online sources, such as Dick Blick 
Supplies. The website of the Carving Consortium Forum 
is a good source of information about materials. 

Drawing and Carving 

First, stamp a light color onto the block, so that, 
when you start to carve, there will be a helpful contrast 
between the colored surface and the white of the carved 
areas. Next, either draw your design directly on the 



block, or do an image transfer, for which tracing paper 
works well. Trace the outline of the block onto the paper, 
to provide a framework within which to draw; when the 
drawing is done, reposition the block within that outline, 
press it against the drawing, and repeatedly tap all over. 
If the transferred image is faint, you can reinforce it 
before carving. 

Anthologies of woodcuts can provide many image 
ideas. Keep in mind two basic relief-printing concepts: 
(1) the image on the block reverses on the paper and (2) 
only the uncarved areas will receive ink and thus create 
the printed image. For design planning, draw with white 
pencil on black paper, to approximate carved areas on the 
block. This white-line carving approach is very direct, as 
it involves a single stroke of the blade. Prints by Thomas 
Bewick, originator of wood engraving, are good 
examples of white-line images, while Durer's woodcuts 
are remarkable examples of the black-line approach, 
which requires that material be carved away on both 
sides of any line that is to print black. (For a black-line 
image from a white-line carving, use opaque white ink 
on the block and then print on black paper.) Many artists 
like to use both approaches in an image, as the German 
Expressionists often did in their woodcuts. 

For 
carving, 
some 
people 
grip the 
cutter's 
handle 
as they 
would a 
pencil; I 
prefer to 
hold it so 
that my palm is underneath and my fingers curl around 
it. In either case, hold the cutter so that it is at a diagonal 
to the block, and the "u"of the blade is right side up. 
Place the block on a solid surface, like a table top, and 
steady it with your free hand. Engage the blade into the 
block, then very slightly move it upward in the material 
when you start to carve, and don't press too deeply. Each 
width of gouge makes a distinctive mark, like a brush; try 
varying the carving pressure, to produce a widening or 
narrowing line. I use the X-acto-like blade only rarely, 
for neatening the interior of corners, while the broader 
blades are good for clearing large areas. Important: The 
blades are sharp; always carve away from yourself and 
keep the steadying hand to the side of the pointed end of 
the linocutter. 

To increase the width of a line, so that more of the 
paper shows in the print, use either the same blade in a 




second stroke along one edge, or a thicker blade. For a 
curved line, turn the block while carving, as in wood 
engraving; the slower the carving motion, the greater the 
control. For a tight curve, turn the block more quickly. 
While lines and dots, rather than crayon-like gradations, 
are best suited for relief images, you can create some 
tonal areas on the block by selective sandpapering. At 
various stages of carving, test-print the stamp; draw with 
white pencil onto the 

proof, then study that to see whether to carve away the 
corresponding area on the block. 

Inking and Printing 

To ink the 
stamp for 
printing, 
place it on a 
stamp pad 
and, using 
medium 
pressure, tap 
it all over. (I 
prefer the felt 
pads to the 
foam ones; 
dye-based 
inks may be 
less fugitive 
than other 
kinds. Some 
of the inks 
are 

water-fast, so 
that once 
they dry, watercolor washes can be added and the print 
will not smear.) Look at the block to make sure that 
there is an even coverage of ink; then press it onto the 
printing paper and, holding the block in place, use that 
same tapping motion, but with more pressure, to transfer 
the ink. It can help to have the paper on a slightly 
cushioning surface, such as a blotter. Although 
smooth-finish papers provide for the most even printing, 
also try textured ones, especially if the image is bold. 
Before printing in another color, stamp off all the ink to 
avoid contaminating the next pad; when finished, clean 
the block with soap and warm water. 

Transferring ink from pad to stamp by brayer usually 
gives a more even coverage. It also allows for a 
larger-size block than could be fitted into a stamp pad. 
Or put a thin strip of water-based block ink, such as 
Speedball, onto a sheet of Plexiglas or shatterproof glass, 
roll up the brayer, and apply to the stamp, taking care 
not to over-ink and fill in the carved lines. Adding 
acrylic retarder to the ink on the slab can slightly delay 
its quick drying time. As oil-based block inks dry more 




slowly, they are easier to use, and they also provide a 
more opaque printed image. Clean up for them is with 
vegetable oil, then soap and water. You can also ink the 
blocks selectively with dampened water-based crayons, 
such as Caran d'Ache. Magic markers can be used too, 
but they dry very quickly on the block. 

Variations 

For traditional multi-color printing, make a block for 
each color in the image, by means of separations. All the 
blocks should be of uniform size. Use the outline of one 
of them as a framework for the prototype color drawing 
(in designing that prototype, make use of the fact that an 
overlap of two water-based inks produces a third color). 
Then draw the outline of the same block on tracing 
paper. Place that sheet over the prototype and trace the 
outlines of all the areas of the same color. Transfer that 
information to the block for carving. Repeat the process 
for each color block. Once all the blocks are made, you 
can experiment with different color combinations. For 
printing the blocks, either register by eye, or make an 
L-shaped cardboard jig that is placed on the paper and in 
the corner of which each inked block is positioned 
successively. The jigsaw block, such as Edvard Munch 
used, is another multi-color approach: plan the image so 
that different sections will be of different colors. Carve, 
then cut the various sections apart (with X-acto knife or 
scissors), so that each can be inked in a different color. 
Print one section at a time and don't remove section A 
from the paper until you have positioned section B next 
to it. 

The rubber stamp is well suited for repeat printing 
within a composition or to augment existing images. 
When the stamp is used in this way, try vignetting the 
image, by carving the surrounding polymer down to a 
level that will not receive ink. Among the more obvious 
images for repeats: leaves, birds, plants, and architectural 
details, as well as abstract elements. With a single stamp, 
you can also obtain a great variety of multiples, by 
printing it in different colors, directions, overlaps, and 
"ghosts" (a second printing without re-inking). For me, 
one of the pleasures of printmaking is that paradoxical 
option of using the same matrix for printing variations. 

For an overlap effect (as in a flock of birds), first 
make a masking stencil by stamping on paper or thin 
mylar, then cutting away all the material surrounding the 
image. Place that stencil on top of a print of the same 
image; then print, either with the same stamp or a 
different one, so that only part of the stamp is on the 
masked-out print and the rest is on the surrounding 
paper. Remove the masking stencil and you will see that 
the first stamped image appears to overlap the second. A 
mylar stencil lasts longer than a paper one and has the 



advantage of letting the underlying image show through 
for positioning of the stencil. 

Use in Books 

Stamps, in all their variations, are ideal for use in 




artist's books. Excellent for unique pieces, they are also 
very efficient printing elements for editions, often to 
indicate narratives (a tree that has many leaves on the 
first page of the book and gradually has fewer and 
fewer). In my accordion book Lexicon there are three 
stamp images on each page, to form a composite. 
Throughout the book, most of the stamps are repeated, 
hieroglyph-like, in various combinations, so that image 
A may appear on one page with images B and C, and on 
another page with images E and F. On the other hand, 
entire bodies of text can be created on a block, or image 
and text can be combined on the same piece of carving 
material, as was done on wood for printing 15 lh -century 
block books in Europe. And of course stamps can be 
used to make book plates. 

Tunnel books, also known as peepshows, can benefit 
from stamp images. The tunnel structure consists of a 
series of parallel image-bearing panels, all with cut-out 
areas, except for the solid back one. The panels are 
attached on two sides to accordion-folded strips, so that 
they can stand upright when those strips are extended, to 
form a theater-like scene. Using the same stamp on each 
accordion-strip interval between panels helps to 
consolidate a scene. Similarly, printing the same 
stamped images on more than one panel can serve to 
unify time and place: in Night Desert, for example, the 
cactus image appears in several panels. Conversely, the 
tunnel-book's multi-panel structure can imply a sequence 
of time or a metamorphosis: to exploit that aspect, print 
the successive accordion intervals with stamp images 
that vary slightly from each other, in the manner of 
Eadweard Muybridge's photographic studies of motion. 

Emboss with carved blocks onto air-hardening craft 
clay, to make light-weight, plaque-like insets for book 



covers. Make a ball of the clay, keeping in mind the 
dimensions of the stamp to be used, then flatten it with a 
rolling pin, to make a % -inch-thick slab. Press the 
carved block into the clay and then slowly remove it with 
a slight rocking motion, so as not to damage the 
impression. Excess clay around the image can be 
trimmed away with an X-acto knife. Try both inked and 
uninked embossing. Once the clay has hardened 
somewhat on the face-up side, turn it over, as the 
underside tends to stay damp. When the piece has dried 
thoroughly, you can add color selectively to the raised 
areas by rubbing them with oil- or water-based crayons 
held at a horizontal to the surface. Also, use sand paper 
as needed to smooth out areas, including the back of the 
piece. 

When carving stamps for embossing, keep in mind 
that the block's recessed lines will appear as raised areas 
on the clay. Use a wider blade and cut more deeply than 
usual; experiment with blades of different widths in the 
same image, for example, a thicker blade for the outline 
of a leaf, and a thinner one for its veins. As you are 
creating a bas-relief piece, study the stylization in 
carvings from various cultures. Look at Egyptian and 
Aztec friezes, Medieval ivories, and Renaissance 
commemorative medals, and apply to your work some of 
their figure/background conventions. 

To 
make a 
book 
cover 
for the 
inset, 
first 
cut two 
pieces 
of 
board 
to the same size. One of the pieces can be of museum 
board, which is easier to cut than book board. Place the 
embossed clay piece onto that lighter board and draw the 
plaque's outline. Then cut away, with an X-acto knife, 
the material within the outline. Adhere the two boards to 
each other and place under weights to prevent bowing. 
When they are dry, glue paper onto the side with the 
recess (with some borders adhered to the reverse side), 
pressing it into the recess. Then apply an all-surface glue 
to the underside of the plaque and position it within the 
recessed area of cover. This premise can also be used for 
presenting embossed tiles or relief pieces individually. 

Rand Huebsch has artist's books in the collections of the 
Victoria and Albert Museum, the Detroit Institute of 
Arts, and the Fogg Art Museum, among others. Contact: 
rahuebsch@earthlink.net 





Chaker Kalai 



Two Paper Engineers From Tunisia 

Theo Gielen 

Mr. Chaker Kalai was 
born in Tunisia in 1972 
and graduated from the 
Ecole Superieure des 
Sciences et Technologies 
du Design (Design 
Academy) in Tunis. His 
wife, Mrs. Awatef Kalai - 
Mosbeh, was born in 
France in 1977. She 
graduated at the Ecole 
d' Architecture et 
d'Urbanisme (Academy 
of architecture and town- 
planning), also in Tunis. 
The couple now lives in 
Tunis and work there as experienced illustrators and 
graphic designers of children's books. They have 
designed and illustrated, together or individually, 88 
children's books and picture books, 18 coloring books 
and 9 school books. 

The series of the six volumes (listed below) of 
'Treasures of Tunisia,"seen at the 2004 Frankfurt Book 
Fair, is their first project of pop-up books. Mr. and Mrs. 
Kalai do the design, the illustrations, and the paper 
engineering; the texts will be written by Mrs. Zeineb 
Hamed. Since each of the books, scheduled to be 
published in 2005, have eight rather large (27 x 27 
cm.), double-page spreads, they are very busy getting 
them finished in time. They are proud to be the makers 
of the first all-Tunisian pop-up books, quite impressive 
since the country does not have any such tradition except 
for some small-scale experiments in the field of postal 
greeting cards. Granted, the publishing company of Alifi 
Editions de la Mediterranee from Tunis published a 
series of pop-up books between 1989 and 1995, but their 
illustrators and paper engineers, Bruno Fourrure and 
Isabelle Courmont, were French. They frankly admit that 
the earlier books have been of great help in 
understanding the techniques of paper engineering. 
Their architectural and design studies also proved to be 
useful in helping them understand the techniques and in 
developing the skills needed for the composition and 
manipulation of the paper art work. Nevertheless, they 
are greatly challenged by this, their first pop-up project, 
a very big project and they are eager to deliver works of 
good quality. The books will be published by Maison 
Yamama from Tunis, one edition with Arab and French 
texts, an other one with the texts in English and 
German. Some pictures can be seen at their website 
www.yamamagroup.com. 




Awatef Kalai 



Translated from Arabic, the 
following "Treasures of Tunisia" 
titles will be issued in 2005: The 
Carthagenians: Merchants of the 
Mediterranean; The Romans: 
Warriors of the Mediterranean; 
Oar ancestors the Berbers; The 
Hafisite Kings; The Islam; and 
The Ottoman Turks. 

The pop-up titles published by 
Alif, Editions de la Mediterranee 
are: La grande Mosquee de 
Kairouan (1989); Les Thermes 
d'Antonin (1989); La Medina de 
Tunis (1989); L'Oasis (1990); 1492 en Mediterranee 
(1992); Carthage (1992); Mille et un Nil (1993); Ulysse 
( 1 995). Only the last one is still in print. It was published 
with Bulgarian text and is available from Kibea 
Publishers in Sofia, ISBN 954-474-069-4. 



Australia's First Pop-up Book Exhibition 

Colin Randall and 
book seller Sue 
Leask organized an 
exhibit of pop-up 
books that was held 
in Newcastle in the 
State of New South 
Wales from January 
10-16. The show 
included books from 
Colin 's collection as 
well as books for 
sale. January is summer holiday in Australia and Sue 
organized classes in pop-up card-making for adults and 
children. Colin was interviewed on ABC National Radio 
(Australian Broadcasting Commission) and discussed the 
origin and background as well as a fun associated with 
pop-up book collecting. 




Colin Randall 




Sue Leask with Phobias, reprinted 
from the Herald News (Australia) 



The Werner Laurie Show Books 

Theo Gielen 

Ann Montanaro's question about the Werner Laurie 
peepshows in the November issue of Movable Stationery 
(p. 6) coincided with some research I had done on these 
books about that time, after the purchase of a couple of 
titles from the series. So, in consultation with her, and 
since there hasn't been anything written about them yet, 
I decided to write a somewhat extensive answer. 






NOAH'S ARK 


iVSITTcN IT 

NANCY SPAIN 


ORAWN BIT JACK S CHAMBERS 



s 



'.'" .<~sC^tJ^^Ki*:.H.^;H^i^-^*'-n 



Peepshows were very popular paper toys all over 
Europe during the second and third quarters of the 19* 
century. The first London tunnel under the Thames and 
the Great Exhibition of 1 85 1 proved subjects in demand 
to be transformed into paper souvenirs for visitors. The 
tunnel alone resulted in over 30 different items of the 
kind. But from about 1870 the interest flagged and the 
species disappeared almost completely from the market 
for over half a century. An incidental publication came 
with the 1 939 The New York World 's /•«//- peepshow, but 
it was not until the early 1950s that there can be found 
a modest revival of this paper novelty. It was the 
company of T. Werner Laurie Limited, 187 Piccadilly, 
London, that published two series of Werner Laurie 
Show Books and patented the technique as devised by the 
paper engineer and illustrator Jack S. Chambers. At 
least, all the seen copies have a "Patent Pending No. 
23461" on the back cover. 

The short text on the back cover, captioned by a 
nicely in the picture integrated "The Showbook Tlteatre, " 
reveals both the intention and the character of the books: 

"Here is all the excitement of the First 
Pantomime brought into your own home. The 
brilliantly coloured Showbook - offspring of 
the old Victorian Peepshow - instructs while it 
enchants and amuses. A pair of scissors, a pot 
of glue and half an hour or so of concentration 
are all that are needed to conjure up the charm 



o/lvlary Mouse, A Rubbalong Tale, Noah 's Ark, 
Christmas Crib Scene, etc." 

The reference to the pantomime cannot be interpreted 
too literally since no title in either series actually pictures 
a scene play. More likely it is a reference to the stage-like 
perspective of the scenery that is seen when looking 
through the peephole. 

The second phrase points at the do-it-yourself 
character of the publication. At first sight they are 
ordinary books, with sturdy board covers, a weaker paper 
spine, a story printed in two columns a page and a 
content of 14 pages in all. The front cover shows a 
theatrical proscenium with bound up stage curtains, a 
rectangle with the title, author and illustrator, crowned 
by an elegant banner with the series name "A Werner 
Laurie Show Book," and to the bottom left and right each 
an easel with a board, the left one reading "Devised by 
Jack S. Chambers," the right one indicating the series, 
the number within the series and the price of 5 shillings. 
A closer look shows that the story of the book just takes 
three pages, that there are two pages of instruction "This 
is how to make the model" and that the other five leafs, 
printed at one side only, have illustrations with pre-cut 
parts that have to be pressed out. On the inside of the 
back cover there are the prefabricated folded below, held 
together by a seal and with a color printed backdrop of 
the final peepshow. 

The instruction pages describe and show how to pull 
out the pages of the book, cut the covers apart down the 
dotted lines along the spine, separate the pictures, the 
story and the instruction pages, to cut out the pictures 
along the outer outlines and to press out the middle of 
the pictures, to cut out the rectangle with the title in the 
front cover to get the peephole, and to glue the front 
cover and the pictures on the (marked) right places of the 
below. Within "half an hour or so of concentration" the 




book will be transformed into a real peepshow 
measuring 18 x 21 cm. and extending to a full 84 
centimeters. 

These are very nice items indeed, colorfully 
illustrated by capable (though not top)illustrators of the 
time, easy to assemble aided by the built-in prefab below 
and the precut die-cuts of the partitions. They are not too 
vulnerable to use because of the rather heavy board used 
for the front and back. And a nice eye for detail is shown 
when the printed curtains on the top nicely close the 
peephole when the peepshow is folded down. 




All of them have been printed in lithography by L. 
van Leer & Co, Amsterdam, one of the best color 
printers of the time and one of the last ones then still 
printing in lithography. They were, for example, also the 
printers of the (first editions of) the contemporary 
peepshow books (effectively carousel books) published 
by Folding Books from London that show a similar 
quality of color printing. 

As said, there were published two series, 
distinguished only by "A" or "B" on the easel down right 
on the front cover and by the different color of the stage 
curtains on the front cover: series A has blue curtains, 
series B red ones. 

Series A consists of six titles all derived from books 
written by Enid Blyton. Although Enid Blyton has been 
credited for the texts, it isn't likely that she herself had 
anything to do with them: in the current bibliographies 
of her works that I consulted, these peepshows are 
nowhere recorded. 

Al . A Rubbalong Tale. Written by Enid Blyton. Drawn 
by Norman Meredith. A spin-off or -as the inside of the 
front cover reads - "Based upon an incident in 
Rubbalong Tales published by Macmillan,"a children's 
book by Enid Blyton first published in 1950. 



A2. Mary Mouse. Written by Enid Blyton. Drawn by 
Olive F. Openshaw. Based on the Blyton character of 
Mary Mouse that figures in a whole series of books (as 
almost all characters of hers do) starting with Mary 
Mouse and the Doll 's House ( 1 942), continued in More 
Adventures of Mary Mouse (1943), Little Mary Mouse 
Again (1944), etc. This series was illustrated by Olive F. 
Openshaw until 1956 and later by Frederick White. 

A3. Noddy. Written by Enid Blyton. Drawn by Harmsen 
van Beek. Most likely the most popular Blyton character 
for younger children, appearing for the first time in 1 949 
in Little Noddy goes to Toyland and exploited since in an 
endless number of titles and accompanying merchandise 
after the illustrations of their Dutch illustrator. 

A4. Five on Treasure Island. Written by Enid Blyton. 
Drawn by Eileen A. Soper (I think - for I haven't seen 
yet a copy of this title). Based on the first title of Blyton's 
most successful series of Five books all illustrated by 
Eileen A. Soper and started with this Five on Treasure 
Islan d published in 1942. 

A5. Tumpy. Written by Enid Blyton. Drawn by ?? (not 
seen a copy yet, nor anywhere found recorded). Based on 
a Blyton character that apparently wasn't too successful 
since it figures in only two books: Mr. Tumpy Plays a 
Trick (1952) and Mr. Tumpy in the Land of Wishes 
(1953). 

A6. Faraway Trees. Written by Enid Blyton. Drawn by 
Dorothy M. Wheeler. The Faraway Trees appeared for 
the first time in 1 946 in both The Magic Faraway Trees 
and The Folk of Faraway Tree, and again in Up the 
Faraway Tree (1951). 

Series B had only two titles, both of them on biblical 
themes: 

B 1 . The Story of Christmas. Story by Vivyen Bremner. 
Drawn by Olive F. Openshaw. The book usually was 
advertised as Christmas Crib Scene. 

B2. Noah 'sArk. Written by Nancy Spain. Drawn by Jack 
S. Chambers. He devised all eight Werner Laurie 
Showbooks but this is the only one he illustrated. 

On the inside of the front covers of the books the 
enumeration of the eight titles above is followed by the 
promising announcement that ''These will be followed by 
a series of six ballets, and many other titles are in 
preparation ," but I am sure the company never published 
any of the announced ones. The eight books described 
prove to have been the only published ones. And, most 
likely, they were the only output at all from the company 
of T. Werner Laurie Limited about which I haven't found 



any further information, nor have I found recorded any 
other book, paper toy, or anything else published. But 
when a reader does have any such knowledge, all 
additional information will thankfully be received by me. 

What remains is how to date these peepshows 
(books). On the books themselves there is no indication 
of a date, no copyright date or a patent number from 
which a date can be derived. True, there is the remark on 
the inside of the front covers - preceding the 
enumeration of the titles - that "These titles are in 
preparation and will be published during the coming 
year" but since there isn't given when this was written, 
it proves not too helpful. Above, it is rather illogical to 
find announced in a published book the remark that this 
book (and the others from the series) will be published 
during the year to come! 

More helpful is that the titles of the A series are all 
spin-offs from well-known Enid Blyton books. Above I 
have already mentioned which Blyton book is 
paraphrased for every peepshow and when that book 
originally was published. The last of the Blyton books 
used for these titles was published in 1952, so we can 
assume 1953 or 1954 as the year of publication of both 
series. Since the Mary Mouse peepshow used the 
illustrations of Olive F. Openshaw who did the early 
titles of the series and the later ones - from 1956 
onwards - were illustrated by Frederick White, a date 
after 1956 appears unlikely. But again any additional 
information will be welcome. 

To conclude I would like to quote the observation of 
an antiquarian bookseller at one of the rare occasions 
that I found a copy of one of the titles offered in a 
catalog: 'Although relatively modern, surprisingly 
scarce." 



Questions and Answers 

Q. I am selling my pop-up book collection of about 1 50 
titles. They are in very nice condition. I bought them 
new, and they have never been played with or damaged. 
I would be willing to sell them all together or 
individually. I will send my sales list out to anyone who 
would like to send me a large self-addressed envelope 
with two 37cent stamps. If you are interested in 
purchasing the collection or individual title, please 
contact me and I can send you an email copy of the 
collection or printed copy of the list. 
ideled.gilbert@att.net or by mail Idele Gilbert, 5219 
Steveann Street, Torrance, CA 90503, USA. 

Q. Recently I purchased a copy of a Polish Disney pop- 
up book Detektyw Kaczor Donald (Donald Duck 



detective) containing no publication date but a 
mysterious "A.B.P-n. Wiosenna 19a." It has 6 spreads 
with rather simple cut and counter folded pop-ups with 
an additional sliding window and an inserted movable 
figure - all vaguely reminiscent of the Kubasta books. It 
appears to have originated in the 1960s or 1970s. I 
cannot determine if there was an English (or French, 
German, etc) language edition of the title and I hope if 
any reader recognizes the book, information about it will 
be sent to me. All information is welcome. 

Theo Gielen 







Q. The unusual English-language Japanese Pop-Up 
Origami by Tatsuo Miyawaki, published in 1962 by 
Biken-Sha from Matsuyamashi, Japan I had found 
sometimes in catalogs of antiquarian booksellers (i.e. in 
catalog 8 of Bookfinders Int., no 1 13 with color picture). 
It has eight light card pages folding out to reveal fully 
made-up craft-paper models which pop up against a 
pictorial background, and alternating pages of thin paper 
on which instructions are printed for making the origami 
models yourself using the colored paper held in a pouch 
inside the back cover. I was lucky to find recently a copy 
for my collection that has (on its spine only) an 
additional "Kitty Book" An advertisement at the end of 
the book surprisingly gives two similar books with pop- 
ups... 

Pop-Up Origami. Johnnie Book with "32 pages, 
bewitching 17 origami patterns, 16 cut-out patterns 
with complete directions and 30 actual samples. 12 
sheets of assorted origami papers for exercise" 
Tortoise Book with "22 pages, stunning 22 origami 
patterns including one pop-up with complete 
directions, colored illustrations and 22 actual folded 
figures (...)." 

Since I have never seen these two titles before, I wonder 
if somebody knows if these titles actually have been 
published or has copies of them. If so I would like to 
receive information about them. 

Theo Gielen 



10 



Apian, continued from page 1 

Learned men at this date took Latin names, and 
Petrus Apianus was a Saxon, named Peter Bienowitz, 
educated at Leipzig and Vienna, who in 1520 issued, 
without acknowledging its origin, a reduced copy of 
Martin Waldseemuller's historic world map which first 
named America. In 1524 he produced in Latin 
Cosmographia Liber which covered what are now 
known as astronomy, geography, and cartography. There 
were diagrams illustrating the universe, the earth's 
climate, methods for calculating latitude and longitude, 
all in the compass of a concise book with attractive 
maps, volvelles, and pictures. It was interesting not only 

to scholars seeking 
to understand the 
world, but to 
monarchs and 
politicians keen to 
map their own and 
other's territories 
for military 
purposes, to 
educated 
navigators, and to 
a public already 
excited by the new 
world discoveries. 
Peter Apian 
became a favorite 
at the court of the 
Emperor Charles 
V, being given the 
huge sum of 3000 
crowns for a later 
book on astronomy, knighted, and made court 
mathematician. A print shows him as an elegant figure, 
in a brocade coat to die for, with a shawl collar and deep 
sleeves lined in fur. However, court favor was not always 
a picnic; there is a story that the Emperor, who was 
suffering from boredom during the siege of Ingolstadt, 
ordered Apian to give him a lecture, and, while 
speaking, Apian was seen to tremble at the background 
roar of the guns. 

1 524 was a decade before Copernicus published his 
shocking idea that the earth revolved around the sun, 
and Apian's book was based on the cosmology of 
Ptolemy, recently rediscovered in the west after a lapse 
of a thousand years. However, the discovery of America 
had upset some of Ptolemy's accepted ideas about the 
earth, and a little view of the globe in Cosmographia 
shows the new continent as a long, thin slice, its 
backside unexplored. 

Gemma Frisius, the second author, was a very 
different type from Apian. Born of a very poor family in 



Las rioras del Dia. 




•r 




Pf 


jj[ / l\WM 


Las horas dc Noetic . 



Volvelle from Cosmographia 



Frisia, small and physically frail, he nevertheless 
managed to succeed as a medical student and later 
lecturer in mathematics at the University of Louvain. At 
the age of 20 in 1529, he produced a new edition of 
Cosmographia "carefully corrected" by himself, and 
in 1533 an expanded further edition, including among 
other things his indispensable booklet on surveying, 




Surveyors using instruments - from Cosmographia 

which conveyed in very simple terms how to map any 
area by means of taking bearings from church towers, 
etc. It was this edition which secured the long term 
popularity of the book. Gemma himself was a skilled 
designer of the globes and scientific instruments made in 
his workshop, and became the employer and inspiration 
of the great map and instrument maker Mercator. 

Thus the little book became a best-seller, running into 
47 editions, and thus I became fascinated by the voyages 
of explorers that laid foundations for the new cosmology, 
and the lives of the 16 lh and 17' h century scientists and 
thinkers who developed it, and from there branched out 
to other aspects of early science. As a simple arts 
graduate with no mathematics, I shall never be more than 
a dabbler in popular science, but it has given me a great 
deal of fun to read myself into this area of history. For 
anyone interested, I can recommend Mercator by 
Nicholas Crane (2002, ISBN 0-75381-692-x), as a 
starting point. 

Catalogs Received 

• Aleph-Bet Books. Catalogue 77. 85 Old Mill River 
Rd. Pound Ridge, NY 10576. helen@alephbet.com. 
http://www.alephbet.com 

• Jo Ann Reisler, Ltd. Catalogue 69. 360 Glyndon St., 
NE, Vienna VA. Phone:703-938-2967. Fax: 703-938- 
9057. email@joannereisler.com. www.joannreisler.com. 

• Stella Books. Pop-up List, www.stellabooks.com. 



11 




Un Livre Pour Toi 



Frankfurt Book Fair, continued from page 3 

around the world." Since the backdrops are 
interchangeable you easily can personalize the scene 
using your own pictures of house and garden, garden 
gnomes, friends, etc. for a backdrop! 

For the best 
find of the fair in 
this category I 
recommend a new 
peeps how or 
tunnel book seen at 
the stand of the Art 
Institute of 
Chicago. The 
strong perspective 
composition of one 
of the Art 
Institute's most 
famous paintings, 
Georges Seurat's Sunday on La Grande Jatte (1884) 
appears perfectly suited to the format of a peepshow. 
Intrigued by the depth of perspective Joan Sommers 
designed and paper engineered A Sunday on La Grande 
Jatte Tunnel Book (0-97541 50-0-X) published by her 
own company of Tunnel Vision Books, Chicago. Since 
Mrs. Sommers attended the fair I had a nice chat with 
her and she showed me some other peepshows to come: 
The Dinosaur Tunnel Book and The Coral Reef Tunnel 
Book, the last one with an additional small lens mounted 
in the peephole as some copies of this kind of paper toys 
from the 19th century used to have. I greatly love this 
kind of stuff! 

Continental Europe 

The European 
production of movable 
and pop-up books is 
almost completely 
confined to co-editions of 
what British and 
American packagers 
offer. As last year, the 
only exception was 
France. Seuil Jeunesse 
from Paris publishes, to 
my opinion, the world's 
most artistic picture 
books and now brings 
some remarkable 
novelties. (Their catalog 

alone is a collector's item since it shows a survey of the 
high standards of artistry their publishers apply.) They 
are the only publisher with the new work of the great 
Czech artist Kveta Pacovskd. First the 100 page (!) 
leporello, Un Livre Pour Toi (2-02-067788-1) illustrated 
in her outstanding, expressive, and colorful style and 




Ponctuation 



with some rather simple pop-up elements that, however, 
have a wonderfully effective result. Without any text the 
book folds out into over twelve metres of colors, stylistic 
beauty and visual poetry. More an artists' book than a 
mere commercial picture book and more an adult item 
than a child's book. One of the bests new items I have 
seen in Frankfurt and the eye-catcher in my drawing 
room for weeks already. Be sure to purchase your copy in 
time! 

Similar superlatives must be used to describe her 
second new book that comes from the same publisher: 
Ponctuation (2-02-063048-6). It has just minimal novelty 
elements (only some die-cuts), but, again, the art of her 
illustrations will impress your sense of beauty. The 
minimal texts have been integrated 
so perfectly into the full-page 
pictures, the humor in the plates is 
striking and the measures of the 
opened spreads (41x58 cm.) 
contribute so much to the highly 
artistic impression of the pictures 
that each of its 24 spreads appears 
to be waiting to be framed and 
hung on a museum's wall. Very 
nice indeed and for sure a sought- 
after and precious collector's gem 
of the future. 

Seuil Jeunesse also brings Tobor 
(2-02-051300-5), the first pop-up 
book of UG (pseudonym of the 
French artist Philippe Hujer) to be Tobor 

published by a regular publisher. 
All of his seven earlier pop-up 
books appeared as artists' books in limited editions and 
can be found pictured in Jacques Desse's two catalogs of 
movable books (Desse I, nrs. 428, 429; Desse II, nrs. 412, 
413). 

The character Marline that was a surprise last year 
with a range of very nice pop-up books, continues now 
with L 'Arche de Noe de Martine, d'apres les albums de 
G. Delahaye et M. Merlier (2-203-11507-6; Martine 's 
Ark of Noah, after the picture books by G. Delahaye and 
M. Merlier) that folds out into a large paper ark with lots 
of additional paper animals to play with. It was designed 
and paper engineered by Nadette Charlet and is 
published by Casterman. 

A nice series of four surprising glow-in-the-dark 
books, designed and illustrated by Francois Daniel and 
Anne De Chambourcy with texts by Elsa Devernois, was 
seen at Nathan Jeunesse: Le Bateau Magique, L 'Herbier 
Magique, Le Camping Magique and L'Anniversaire 
Magique (The magic boat, herbal, camping and 




12 



birthday). This publisher had another very interactive 

baby book: Coucou, c 'est Moil {Peek-a-boo, it 's me!) 

that has pull-tabs, lift-flaps, a mirror, a sound-chip and 

a frame for a picture of your baby. At the publishing 

house of Gallimard was seen a new series of interactive, 

movable books featuring the character of Penelope, a 

(blue) teddy bear. Written by 

Anne Gutman and with 

colorful illustrations by 

George Hallensleben that 

surpass in their quality by far 

the average illustrations in 

similar Anglo-Saxon books, 

there were presented first four 

volumes: Penelope a I'ecole, 

Penelope a la montagne, 

Penelope a la ferine and 

Bonne nuit, Penelope 

(Penelope at school, in the 

mountains, on the farm and 

Goodnight, Penelope). 



w& 




Exercices de Style 



The perfect Christmas present I found for my closest 
non-pop-up friends was at Gallimard Jeunesse. It is their 
re-edition of the classic literary book of Raymond 
Queneau, Exercices de Style (2-07-055202-0; Exercises 
in composition) done now as a mix-and-match book. 
Published on the occasion of the 100th birthday of 
Queneau and the 30th anniversary of Galimard Jeunesse, 
it is illustrated by over 60 illustrators from this 
publishing house, both great names and young 
newcomers. Two thirds of the pages have the 
illustrations, the other third, done in all kinds of colored 
paper, have the text of Queneau's masterpiece for 
literary connoisseurs. A great, wonderful edition that 
was awarded the best book in the category of literary 
fiction at the Bologna Children's Book Fair. 

The only 
other European 
country that had 
a new pop-up 
book on display 
was Germany - 
though not with 
an established 
children's 
publisher but 
with the small 
publisher of 
Edition 8x8, from Hamburg. After his successful earlier 
Die Geschichte der Wundersamen Errettung der 
Schonen Prinzessin... now reprinted several times, 
Martin Graf designed a likewise do-it-yourself pop-up 
book entitled Auswdrts Essen (Outdoor dinner) that tells 
in a humorous way the story of Marco Polo's journey to 




Auswarts Essen 



China and why it took him 24 years to get home again. 
The seven sheets, done in three color printing and rather 
complex to assemble, can only be ordered through his 
website www.edition8x8.de. 

The Arab World 

Except for the severe security measures as sketched in 
the introduction of this contribution, there was another 
surprise from the Arab world. The fair and the city of 
Frankfurt put a lot of money and prestige in its thematic 
main point, organized exhibitions (this year, for example, 
a very nice survey of modern Arab children's book 
illustrations), theater performances, concerts in the 
streets, presentations of the regional culture and more 
folkloristic customs and invited authors and other 
intellectuals, etc. But they also made it financially 
possible for small(er) publishing houses from the region 
to be guests of honor and to attend the fair by invitation. 
For that reason there could be found in the international 
halls publishers that otherwise could not afford to attend 
and, as a result, would otherwise not have been seen in 
Frankfurt. 

Most likely for this reason I was lucky to see a stand 
with Arab pop-up books to be published in several 
languages next year. The publishing house of Yamama 
from Tunisia showed wonderful dummies of six volumes 
of their series of "Tunisian Treasures" designed, 
illustrated and paper engineered by Mr. Chaker Kalai 
and Mrs. Awatef Mosbeh. Each book tells about a 
different episode from the history of Tunisia and together 
they provide information about the numerous 
civilizations that contributed to forge the identity of this 
Arab, or better, north African country. Translated from 
the Arabic the titles are: The Carthagenians: Merchants 
of the Mediterranean; The Romans: Warriors of the 
Mediterranean; Our Ancestors the Berbers; The Hafisite 
Kings; The Islam; and The Ottoman Turks. The 
informative texts that tell about Tunisia's heritage and 
about the roots of its culture are written by Mrs. Zeineb 
Hamed who happened to be the publisher in charge of the 
Yamama stand at the Fair. She told me that the makers 
are young people and that these are their first pop-up 
books. All six will be published next spring in Arabic, 
English, French, and German. In some aspects (both of 
chosen themes as well as the paper artwork) they 
reminded me of the only other Tunisian pop-up books 
that have ever been published - the sought-after series 
published in the late 1980s and early 1990s by Alif, 
Edition de la Mediterranee. These new ones surely will 
also be very collectible, both for the quality of 
illustrations and paper engineering and for their 
unexpected themes related to the country of their 
origination. (See more about Chaker Kalai and Awatef 
Mosbeh on page 7.) 



13 



New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, internet 
sources, or other advertising. All titles include pop-ups 
unless otherwise noted. 



The Ark: A Pop-up by 
Matthew Reinhart. Little 
Simon. VA" x 9V 2 ". 12 
pages. $16.95. 
0-689-85909-0. 



Boohbah Pop-up and 
Dance. 6 pages. 9" x 9". 
$8.99. Scholastic. 
0-439-69158-3. 





The Pocket Paper Engineer 

The Pocket Paper Engineer: How to Make Pop-Ups 
Step-by-Step by Carol Barton will be available in March. 
The 68-page workbook is $28 (including shipping) and 
extra pop-up card sets are $14. To order see 
http://www.popularkinetics.com/ 



Dressup Batty. By William Wegman. [1 pop-up and 
hologram on cover] Hyperion Books for Children. 
$19.95. 8"xl0".16 pages.0-786-8 1849-2. 

Never Too Little to Love. [One small pop-up, split 
pages.] Candlewick Press, 2005. $10.99. 0-7636-2267-2. 

A Sunday on La Grande Jatte Tunnel Book. $9.95. 
Chicago Art Institute Gift Shop. 0-9754 150-0-X. 



'■sai 







.. John Sfadlar 



Let 's Start! Classic Songs: 
Twinkle, Twinkle, Little 
Star: A Pop-Up, 
Lift-the-Flap, Noisy, 
Sing-Along, Musical 
Book. 10 pages. Silver 
Dolphin. $12.95. 
1-59223-357-0. 



Take Me Out to the Ball Game. Little Simon. $12.95. 
0-689-85917-1. 



777e Very Busy Bee. 
Peek-a-Boo Pop-ups. 18 
pages. March 7, 2005. 
Little Tiger Press. £7.99. 
1-845-06163-2. 
Also: 77ie Very Busy 
Dinosaur. 
1-845-06204-3. 




Pop-up Book Exhibits 

Florida Kubasta Exhibit 

"Pop-ups, Illustrated Books, and Graphic Designs of 
Czech Artist and Paper Engineer, Vojtech Kubasta 
(1914-1992)" will be at the Bienes Center for the Arts, 
Broward County Main Library, Ft. Lauderdale, Florida 
until April 30, 2005. A 140-page exhibition catalog is 
available for $35.00 from: 
http://www.broward.org/library/bienes/bienes.htm 



Papiermuseum, Diiren, Germany 

250 pop-up books from the collection of new Movable 
Book Society member Hans Hartung will be on exhibit at 
the Papiermuseum in Diiren, Germany until April 3, 
2005 in show entitled "Pop-up: Books Coming in to Fold 
Out." To show the wide range and scope of pop-up 
books, Hans has arranged the exhibit both theme and by 
paper engineer, highlighting work of some of the 
masters. For more information see: 
http://www.papier-museum.de/home.html. 



New Paltz, New York 

"Ideas in Motion: The History of Pop-up and Movable 
Books - Books and Ephemera from the Collection of 
Ellen G. K. Rubin" will be at the Sojourner Truth 
Library, on the New Paltz, New York campus of SUNY. 
April 1 1-30, 2005. There will be lectures by Ellen and 
Robert Sabuda as well as a book signing on Thursday, 
April 14, 2:00-5:00 p.m. Log onto www.popuplady.com 
for images and more information. 



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